The recent work offers a change in perspective; instead of looking outwards to the unknown, the project looks inwards to the familiar subject where Ana and Ina live and work: Germany. Beginning with alternating projections, the exhibition culminates with in a series of sequences on all four walls. Using striking images, the artists explore how certain thought patterns change in times of great social turmoil. How does the individual and community alter when threatened by the unfamiliar? What is the meaning of “nation” or “home”? What role does tradition and cultural identity play?

In the video, a blonde woman combs her hair in front of a monumental building from the 1930s. Next, two fencers are seen dueling, although it remains unclear if this is for competitive sport or if the scene belongs to a ritual of “schlagenden Verbindung”; a combative engagement as a part of the traditional student clubs. A man is seen in front of a running river, as if from a painting from the German romantic period. He holds a large stone in his hand which ultimately he does not throw. Finally, a striking portrait of a young man appears on all four canvases. His eyes speak to the camera. His words unintelligible. He clearly embodies different characters, stances, and moods. He is convincing, his calm voice drawing the listener in. He explains, argues, his mood escalates, he becomes aggressive, his words invasive and full of emphasis.

The French philosopher, François Jullien, argues in his new book that cultural identity does not exist. The nature of culture is change, according to Jullien. The video work, No Identities, is born out of the current tension in Germany. While the interpretation remains open, the images are allusive. The ideas and topoi are anchored in the history of culture whose connections touch on current social themes and therefore makes them negotiable.